S5 E3 According to Harpy
by Harpy101
Summary: In the third episode of an eight part series conflicts are introduced, and arcs begin. So this is a bit of a launch pad. Everybody is in it including a couple of my own additions. There's flapper-talk, a storm, too much sherry, a fire and a suspension. Some romance, because so much romance was lost and needs to be made up for. And hopefully, humor. Action is in italics.


EVENING. INT. MRS. WRIGHT'S HOUSE. BEDROOM.

_Anna is tucking her in._

ANNA  
How are you feeling now?

MRS. WRIGHT  
Please sit, Anna.

ANNA  
I could read to you.

MRS. WRIGHT  
No. I'll be falling asleep again  
soon and I must speak with you.

ANNA  
Alright.

_Sits at her bedside._

MRS. WRIGHT  
You don't know what you've meant to  
me.

ANNA  
And you don't-

MRS. WRIGHT  
No – please, let me go on for a  
bit. (Laughs weakly). A few years  
ago, I made a decision to live  
according to my beliefs. I  
embraced simplification. Because  
of that I lost every friend I had.  
Billy had moved to America. I knew  
the choices I had made might lead  
to being more alone. But I didn't  
know how alone I would feel.  
And then I met you.

ANNA  
But-you-

MRS. WRIGHT  
I knew right away that this lovely  
young girl I had seen at church-  
that something had happened to you  
that never should have happened.  
We heal ourselves even more deeply for  
retracing the journey, when we  
can help others to come  
back through the darkness. You've  
reminded me of everything that's  
most precious.

ANNA  
I don't know what I would have done  
without you.

MRS. WRIGHT  
Anna. What I came to see through  
you again is the beauty of the  
SPIRIT.  
You've made it all worth it.

_Mrs. Wright reaches for Anna.  
Anna holds Mrs. Wright's hands tenderly._

MRS. WRIGHT (CONT'D)  
Now go home to that handsome  
husband of yours, and get some good  
sleep. And tomorrow enjoy your  
adventure running a great house!

ANNA  
I'm sorry I won't see you tomorrow.  
And I've asked Dr. Clarkson to  
check in on you. We've weather on  
the way, I've heard. They've had  
storms up north that seem to be  
moving our way.

MRS. WRIGHT  
(Dreamily) My dear Anna. (Drifting  
off) Under the wing of a storm...

BREAKFAST TABLE, DAY. ROSE, ROBERT, TOM AT TABLE.

_Rose opens an envelope. Tom spies the address from across_  
_the table._

TOM  
Oxford?

ROSE  
Yes! It's my friend Lady Clara  
Findlay who studies there. She's  
coming today!

ROBERT  
A visitor? Does Cora know?

ROSE  
I believe I mentioned it.

_Robert and Tom stare at her._

ROSE (CONT'D)  
I believe.

_Carson enters._

ROBERT  
Oh, Carson. We will be five for  
dinner, as it turns out. And one  
guest to stay-

ROSE  
Just overnight-

CARSON  
Very good, My Lord. One more guest  
will not break us. Even on junior  
staff as we are.

TOM  
Uh, no. I'll be having dinner in  
the village.

ROBERT

Will you?

TOM  
I hope that's alright.

ROBERT  
Of course. You may dine with  
whomever you wish. That makes us  
four, then.

ROBERT (CONT'D)  
(To Carson)  
I am certain nothing will prevent  
you from upholding your usual  
standard, no matter the staffing.

LONDON. DAY. OFFICES OF THE SKETCH. MICHAEL GREGSON'S  
FORMER OFFICE.

_Edith is unpacking 2 small boxes. She sets a picture of_  
_Michael Gregson on the empty desk._

BROWN  
It being Saturday we're on weekend  
staff My Lady. But I can help with  
your-arrangements...

EDITH  
That won't be necessary.

BROWN  
I can - if you'd like my-

EDITH  
Thank you, Mr. Brown. I only need  
your help to call a meeting next  
week. I intend to address the  
staff. I will need everyone there.  
Let's schedule the meeting for  
first thing Wednesday morning.

BROWN  
This coming Wednesday, My Lady?

EDITH  
It will be a very short address,  
Mr. Blake.

BROWN  
But-Wednesday-

EDITH  
It's not the Monday starting shot  
and it's not the Friday race to  
finish. My friendship with Mr.  
Gregson was informative enough that  
I know how to respect the schedule.  
I will address the staff Wednesday  
morning first thing. Thank you for  
organizing that.

BROWN

_Realizes he's been dismissed and leaves the office._

_Edith looks at the picture of Michael on the desk, squares_  
_her shoulders and sighs._

THE TRAIN TO LONDON. DAY.

PATMORE  
Want to see my pictures?

HUGHES  
You haven't got-

PATMORE  
Just a few!

_She opens her bag and pulls out photos and_  
_folded magazines._

HUGHES  
My goodness! How long have you  
been collecting?

PATMORE  
Oh, years now.

HUGHES  
You're not a fan of Valentino.  
You've got a crush!

PATMORE  
Of course I have! Just look at  
him, will you?

HUGHES  
He could be my son. Seems a bit  
strange. I admire him, of course.

PATMORE  
In imagination, all things are  
possible.

HUGHES  
(laughs)

PATMORE  
Oh! We mustn't forget to stop by  
that retched suffragettes meeting  
and get some literature. Just to  
cover our tracks.

HUGHES  
You're treating this like a  
clandestine meeting. Aren't you  
the least bit curious to hear the  
adventures of our brave sisters in  
arms?

PATMORE  
What? Imprisonment, beatings, a  
diet of maggots? I admire them, of  
course. But I've read about the  
reality. Do YOU need more of the  
real world?

_Hughes says nothing. She's thinking it over._

PATMORE (CONT'D)  
Perhaps-the real world still holds  
a prospect or two?

HUGHES

_Looks out the window._

_Patmore smiles to herself._

FRONT DRIVE. DAY.

_A CAR PULLS UP AND Lady Clara Findlay steps out. She's in_  
_very modern, upper-class dress with hair cut short in the_  
_Parisian style, very long beads, a drawn-on mole._

CLARA  
Am I Houdini?

CORA  
Uh. Hello.

ROSE  
Cousin Cora, this is Clara Findlay.

CLARA  
I'm not a crasher, am I? There was  
no need to send the car to the  
train, I could have dimboxed it.

_Thunder cracks the sky, startling them. Cora recovers first._

CORA  
Miss Findlay. You'd better come  
in.

CLARA (bowing her head politely)  
Countess, you are so kind to  
have me. We've never been properly  
introduced, so I must be a bit of a  
surprise? I'm a ding-dangler but  
Roz - urm - Rose - wouldn't hear  
of it.

CORA  
It's kind of you to come.

_Jimmy carries her luggage and Anna follows. Sarah drops back_  
_to speak to Anna._

CLARA  
You're the bean picker, huh? Oh so  
kind of you, but I dud up on my own  
for dinner, munitions and all. My  
dressmaker, elle est Francais. But  
thank you all the same.

CORA  
Let's have tea.

CLARA  
I'm no crumb-cobbler, Lady Crawley.  
But I'd murder for noodle juice.

UPSTAIRS HALLWAY.

BATES

(Smiles fondly at his wife.)  
I haven't seen you all morning.

ANNA  
Lady Rose's friend has arrived from  
Oxford. She talks like a lady half  
the time and like a flapper the  
other half. I just barely  
understand her.

BATES  
How is Mrs. Wright?

ANNA  
Not well.

BATES  
I'm sorry.

ANNA  
I'll go down first thing in the  
morning.

BATES  
And the job of head housekeeper?

ANNA  
I've seen it done for years. Doing  
it is a bit of a different thing.  
But no disasters yet.

BATES  
And there won't be any.  
You'll be a smashing.

ANNA  
(Laughs.)

BATES  
One thing for certain. You're the  
prettiest housekeeper I've ever  
seen.

ANNA  
And you're a flirt!

BATES  
Should I not flirt with my  
beautiful wife?

ANNA  
You should. I insist on it.

_He looks around the hall, so does she._

ANNA (CONT'D)  
But it's very improper, Mr. Bates.

_She looks around again and tilts her chin up, beckoning him._

_He cups her chin in his hand, stroking his thumb from her_  
_lower lip down and under her chin, slowly. Anna likes this,_  
_and he knows it._

BATES  
(Softly)  
Whatever pleases _you_ is proper.

_Anna smiles, gives him an admonishing look and walks away._  
_He goes in the opposite direction._

FRONT DRIVE. MID-DAY. RAIN.

_A car pulls up and Edith emerges; she runs in the door and_  
_pauses to shake off her umbrella._

CORA  
Edith! What are you doing home?

EDITH  
I wanted to come back for the  
weekend. I missed-being home.

CORA  
A friend of Rose is visiting from  
Oxford.

EDITH  
From Oxford? How interesting.

CORA  
Interesting. And nearly  
unintelligible.

AFTERNOON. GUEST ROOM.

_Sarah is hanging up her new dinner dress and showing it to_  
_Rose._

CLARA  
I don't want to be a wind sucker  
but here's my urban set.

ROSE  
It's the cat's-

CLARA  
-pajamas. The cat's pajamas, Rozzy.

Rose laughs.

CLARA (CONT'D)  
Where's your wang-doodle, Roz? I  
love apple-knockers and all but  
it's so quiet out here!

ROSE  
Jazz? My room!

SERVANT'S HALL.

_Mosely enters, breathless, and just a bit damp._

CARSON  
Mr. Mosely. We've only the family  
tonight, and one guest. There was  
no need for you to come out in  
this.

MOSELY  
I know. I thought with Daisy and  
Anna running things I would show up  
to-cheer them on. Oh, and I saw a  
car pull up front with Lady Edith  
as I was coming around.

_Baxter smiles at Mosely across the table._

CARSON  
Thank you, Mr. Mosely. That's two  
more then for dinner tonight, Lady  
Edith and our guest.

MOSELY  
Who's the guest?

ANNA  
Lady Clara Findlay. A friend of  
Lady Rose from Oxford.

CARSON  
The Findlay estate. That was a sad  
tale. They didn't last the war.

_Carson goes into the kitchen._

CARSON (CONT'D)  
Daisy, we will have five for  
dinner.

DAISY  
The chickens won't do, then.  
(Thinks) We'll do the Sunday roast  
early.

CARSON  
For only five?

DAISY  
This won't make much sense, Mr.  
Carson, but-I have a feeling we're  
going to need it.

_Carson stares at Daisy. Daisy stares back, very sure of_  
_herself._

CARSON  
Are you quite sure?

DAISY  
Mrs. Patmore always says double  
what you need when bad weather is  
coming in.

(BEAT)

CARSON  
It's irregular. But I'm not  
against playing it safe tonight.  
I'll change the wines.

LATE AFTERNOON. LADY GRANTHAM'S HOUSE

_Isobel enters, shaking off rain. She looks at Violet, who is_  
_sipping a sherry comfortably._

ISOBEL  
Are you-have you been drinking?

VIOLET  
(Shrugs)  
A sherry before dinner.

ISOBEL  
You never have a sherry before  
dinner. And it's very early to  
start-

VIOLET  
I thought we were going to stay in  
and play cards. And, sometimes  
things that never happen, happen.

_Violet looks up at Isobel, a bit too happily._

Happen.

ISOBEL  
Dear God.

VIOLET  
Well go, then, if you're so  
offended.

ISOBEL  
I'm not offended.

_Isobel looks about uncertainly for a moment, then shrugs._

ISOBEL (CONT'D)  
I just need to - catch up.

_Violet motions to the maid to pour sherrys._

VIOLET  
Good. Make it quick. I want  
another.

ISOBEL  
Is that wise?

VIOLET  
Why not? Our starters seem to be  
taking forever.

SPRAT

_Enters._

My Lady-It seems the stove is  
broken. We'll need to call for  
service tomorrow.

VIOLET  
What is it that happens to stoves?

SPRAT  
I'm so sorry my lady. Cooking is  
impossible tonight.

VIOLET  
Alright. Thank you, Sprat.

ISOBEL  
And my cook is out for the evening.

_She takes a big sip of sherry._

VIOLET  
Shall we starve ourselves and  
become mystics?

ISOBEL  
I've bread, at the house, and ham.  
I could make us-

VIOLET  
A crust and a cup of water?

ISOBEL  
Well, after all the sherry.

VIOLET  
I see. We've fallen so far now,  
have we?

ISOBEL  
I can make a simple dinner-

VIOLET  
Nonsense, if you can't impose upon  
your family who can you impose  
upon?

ISOBEL  
You want to go to the Abbey?

VIOLET  
Of course. (To Sprat) Let the  
driver know we're leaving now.

ISOBEL  
We should call first.

VIOLET  
Why? For all the previous  
centuries guests couldn't call  
before showing up to beg a meal.  
You had to-go WITH it.

ISOBEL  
It's quite a storm. Should we-

VIOLET  
You worry so about everything. Now  
get your coat and we'll impose  
ourselves upon the children. We'll  
be early enough for them to adjust.  
(Nods to Isobel's glass of sherry)  
Finish that first. (To the maid)  
And pour two for the road.

GRANTHAM ARMS PUB. VILLAGE. LATE AFTERNOON. RAINING.

_Sarah enters the pub, seeing Tom seated at a table with a_  
_spread of periodicals and books. She shakes off her coat and_  
_sits at the table._

SARAH  
You look studious.

TOM  
Mrs. Crawley is right. I've let  
some of my interests slip.  
And a lot has happened - I've got  
some catching up to do.

SARAH  
I commend a motivated student. But  
what's the goal?

TOM  
Well, knowledge is its own reward.  
How was your day at school?

SARAH  
I wish more of my students were  
like you. I think it's the  
unsettled weather today. The  
static in the air. The only thing  
that caught their interest was a  
reading from Wuthering Heights.

TOM  
A great story.

SARAH  
Yes. People caught between worlds,  
the natural and the cultured.  
Sounds a bit like you.

TOM  
Is it wise dining here tonight?  
I'd hate you to get caught out in  
the rain, or worse. This is  
supposed to be a big storm.

SARAH  
Since we're both early - why don't  
we make it an early night and eat  
now?

FRONT DRIVE. LATE AFTERNOON. POURING RAIN.

_Violet's car pulls up. The chauffeur runs to the door with_  
_umbrella out, escorting first Violet, then Isobel to the_  
_door._

Cora meets them, staring.

CORA  
What-I-hello-

VIOLET  
A visitation of the naiads.

ISOBEL  
Yes. Very old naiads.

VIOLET  
Very old. The naiads of the  
Ancient Mariner.

_Isobel finds this funny. Violet is proud of her wit._

CORA  
But-why are you out in this?

VIOLET  
Stoves break. And cooks have the  
night off. Who can say why  
anything happens?

_Carson enters, surprised, but able to rally in an instant._

CORA  
Oh. Of course. Carson, please tell Anna  
we need a nice fire in the PARLOUR.  
(Cora punches this last word with  
emphasis) And please, some coffee.  
You'll stay for dinner, of course.

ISOBEL  
I do hope we're dressed well  
enough. We were planning to stay  
in and play cards, you see.

VIOLET  
Oh! Gin! And sherry. Gin and  
sherry. And gin.

_Cora pales._

CORA  
Let's get you to the fire in the  
library until the parlour is ready.

VIOLET  
She is hiding us.

ISOBEL  
Can't blame her, really.

VIOLET  
We never intended to make any sort  
of disruption. But we decided not to be  
mystics after all.

_Isobel finds this funny, too. Violet is enjoying herself._  
_Cora rolls her eyes and herds them into the library._

KITCHEN. LATE AFTERNOON.

_Carson enters._

CARSON  
Daisy, it seems Mrs. Patmore's  
philosophy is quite a helpful one.  
We've two more for dinner.

DAISY  
Won't be a problem.

CARSON  
Good, good.

_Carson continues down the hallway and into the servant's_  
_hall. Staff at the table stand._

CARSON (CONT'D)  
Mr. Mosely, since you are here,  
would you help serve tonight?  
We've two more for dinner.

MOSELY  
(With a quick glance at  
Baxter.)  
Of course, Mr. Carson. Glad to  
help.

CARSON  
Lady Grantham and Mrs. Crawley have  
arrived.

MOSELY  
Were they expected?

CARSON  
(With a frown)  
No. But we will deign to feed  
them.

MOSELY  
Oh. Of-of course. I'll get into  
livery.

GRANTHAM ARMS PUB. EARLY EVENING.

_Tom is helping Sarah on with her coat._

TOM  
I should drive you home.

SARAH  
That would makes no sense. Then my  
car would be here.

TOM  
But-

SARAH  
Are you really worried about me?

TOM  
It's a big storm.

_There is a commotion at the front door of the pub. They look_  
_to see Evelyn Napier and Charles Blake, soaked to the bone  
and streaming rain._

TOM (CONT'D)  
What happened to you?

NAPIER  
Optimism. And mud. We're stuck  
until this downpour is over, I'm  
afraid.

TOM  
Where?

BLAKE  
Just a mile and a half up the road.

NAPIER  
We look like something the cat  
dragged in.

TOM  
I'd sack the cat that dragged you  
in. And your luggage?

BLAKE  
It was too far to carry it all.

TOM  
We'll have to go and fetch it.

BLAKE  
Impossible. We'll set up here for  
the night and hire a car in the  
morning.

TOM  
Sorry. I'd be murdered for  
allowing it. You know how the  
Crawley's would take it if I  
didn't bring you home.

NAPIER  
We couldn't show up like this.

TOM  
Come on, we'll go get your luggage  
and get to the house before the  
whole sky comes down. (To Sarah)  
And we'll drop you home. (Sarah  
begins to protest.) I'll come and  
get you in the morning so you're  
not late for school. Come on.

CARSON'S OFFICE, EVENING BEFORE DINNER.

_Mary knocks. Carson looks up._

CARSON  
Can I help, My Lady?

MARY  
I was just coming down to apologize  
for all the extra guests. I know  
you've everything well in hand, but  
I thought I'd look in on the  
assistant cook to say so, it being  
her debut.

CARSON  
Of course, My Lady.

MARY  
Urm-Carson?

CARSON  
_Daisy_, My Lady.

_Mary smiles at Carson gratefully._

_MARY ENTERS THE KITCHEN DOORWAY JUST IN TIME TO SEE WHAT NO_  
_ONE ELSE SEES._

_In the midst of the bustling kitchen activity Thomas tosses_  
_melted fat from the grease pot onto the top of the stove  
so it catches the open_ _flames. Fire shoots up._

_Mary looks directly into Thomas's eyes for a split second, in_  
_shock, as mayhem ensues in the kitchen._

_Thomas turns to Jimmy, handing him the grease pot. Jimmy_  
_holds it, confused and startled by the fire._

HUGHES' OFFICE

_Anna, hearing the noise, runs out of the office and into the_  
_hall. She grabs the heavy brass fire extinguisher on the wall_  
_and pulls it down, but it is too heavy for her. She begins_  
_dragging it into the kitchen - all the while leaving the_  
_household keys on the desk in the office._

HALLWAY.

_Thomas peers out of the servant's dining hall, sees Anna_  
_dragging the fire extinguisher into the kitchen and slips_  
_across the hall into Hughes' office. He sees the_  
_housekeeper's keys on the desk and goes for them. This is_  
_what he was hoping for. He detaches one key and turns to_  
_leave._

_Carson runs out of his office at the sound of the commotion_  
_and into the kitchen. He takes the fire extinguisher from_  
_Anna. He tells everyone to stand back._

KITCHEN

_Daisy grabs pots to take them off the stove and save the food_  
_and burns herself, crying out._

MRS. HUGHES OFFICE

_Thomas is about to run out but stops, rifling through drawers_  
_and the bookshelf, shaking the books, finally pulling a book_  
_off the shelf and opening it. It's a hiding place for the_  
_spare set. He pockets the spare set of keys and glides back_  
_out of the office and into the dining hall, through and back_  
_toward the store room._

KITCHEN

_Baxter grabs the grease pot from Jimmy's hand, giving him a_  
_significant look, and sets it on the counter as Carson douses_  
_the flames. There is a pause. Anna is looking at Daisy's_  
_arm and exclaiming. Daisy pulls away from Anna and looks to_  
_the pots of food she had to take from the stove._

_Mary's eyes dart around the kitchen. She spies a teapot on a_  
_tray, grabs the first aid kit off the shelf and throws a_  
_bandage into the cold tea. She scoops the tea leaves from_  
_the bottom, making a quick poultice, and runs to Daisy,_  
_tugging on her elbow._

DAISY:

_Not looking, shakes off Lady Mary._  
I can't stop now!

MARY  
You will stop now, Just for a  
moment.

_Daisy looks, sees Lady Mary and freezes._

DAISY:  
My Lady! Oh, I beg your par-

MARY  
It's alright. I'm just bandaging  
this.

_Mary wraps the tea leaf poultice onto Daisy's arm, tying a_  
_neat bandage._

You need to keep it wet with very  
strong, cold tea. You WILL make  
time for that or we'll be paying  
the doctor for a more profound  
injury. Am I clear?

DAISY:  
Yes, my Lady.

MARY  
Good. Now go, go!

_Daisy springs into action, as behind her we see Thomas_  
_creeping through the back of the kitchen toward the store_  
_room. Kitchen maids are cleaning up the mess, getting food_  
_back onto the stove._

FRONT DOOR, EVENING. POURING RAIN.

_Tom, Napier and Blake at the front door._

CORA  
Goodness!

TOM  
I've brought us a treat.

NAPIER  
We broke down outside of town. We  
were going to stay at the Arms-

CORA  
Oh, no! You weren't. Were you?

BLAKE  
But Tom kidnapped us.

CORA  
Of course he did. I can't think  
where Carson is. I'm sorry for  
your wait.

BLAKE  
(Laughing) No, please-

CORA  
We'll have you dressed for dinner  
shortly. I hope you haven't eaten?

_Violet and Isobel peek_  
_out of the parlour, looking down the hallway at them._

KITCHEN DOORWAY.

OFF CAMERA V/O

CORA  
My God! What happened?

_Mary turns._

MARY  
We've had a fire.

_Now Mary is looking for Thomas._

CARSON  
It is out, My Lady. Appears to  
have been a grease fire.

MARY  
Urm-the cook-Daisy - was quite  
badly burned.

KITCHEN MAID  
(Runs up to Daisy.)  
There's not enough apricot mousse  
and madelines for four more people.

CORA  
Seven more.

MARY & CARSON  
(together)  
SEVEN?

CORA  
You won't believe who showed up,  
soaked to the bone. I need your  
help at the front door, Carson.

CARSON  
Of course. Daisy, are you alright?

DAISY  
Yes.

_Carson pauses, looking at her._

CARSON  
You should not have reached into  
the flames like that.

DAISY  
Then dinner would have been late.

ANNA  
We'll look after her, Mr. Carson.  
And I'm coming right up to  
see to the rooms.

CARSON  
Thank you, Anna.

_Carson looks Daisy over again, then heads upstairs._

CORA  
I'm sorry, Daisy. I can't turn  
them away at the door.

DAISY  
No, it's fine. The roast will do  
for twelve.

CORA  
It's alright if there's no dessert.

DAISY  
I've got a pudding ready - or the  
better part of one. It won't take  
any time to put together.

CORA  
If you're sure-

DAISY  
(Turns and yells)  
Milicent, get that roast covered  
while it rests and two more pans of  
Yorkshire puddings in the oven!  
Ruth, triple that gravy. And whip  
twice the cream up stiff before  
it's tomorrow!

_Mary and Cora exchange a look and leave the kitchen. Mary is_  
_still glancing around for Thomas._

MRS. HUGHES' OFFICE

_Anna snatches up the keys from the desk._

ANNA  
I'll get the rooms seen to.

CORA  
Apparently they broke down out in  
the rain. All of their cases are  
wet through.

ANNA  
(Thinking)  
Mr. Crawley still had some things  
in the attics.

_Anna looks apprehensively at Mary, who shrugs and gives a_  
_little shake of her head to indicate she's fine. Mary is_  
_still looking behind them, preoccupied._

ANNA (CONT'D)  
We'll put together what we can.

BAXTER:  
My Lady, as I'm dressing both you  
and Lady Mary, perhaps we had  
better-

CORA  
Yes, thank you, Baxter.

(To Mary) Let's go up.

BOOT ROOM

ANNA

_Enters. Bates is carrying in muddy shoes and wet coats._

You've already seen them, then?

BATES  
(Laughing) Quite a sight.

ANNA  
And all they have is soaked  
through?

BATES  
Not everything, as it turns out,  
but I will be raiding the attics to  
fill it all out for dinner. Do you  
think if Lady Mary saw any of Mr.  
Crawley's clothing-

MOSELY  
_Enters, adjusting his valet's waistcoat._

I'm out of dinner livery. I can't  
believe what happened! Are you  
alright, Anna?

ANNA  
Yes. It's Daisy I'm worried about.  
Thank goodness for Lady Mary.

BATES  
What happened?

ANNA  
We had a fire in the kitchen.  
Daisy was burned saving dinner.

BATES  
You're alright?

ANNA  
Yes, no one else was hurt.

BATES  
Mr. Mosely, if you could sort these  
out to dry I'll get up to the  
attics.  
We should be able to lay out  
everything for Mr. Blake and Mr.  
Napier within the quarter hour.  
You will dress Mr. Napier.

ANNA  
I think Lady Mary will be alright  
if she sees Mr. Crawley's clothing  
on one of the other gentlemen.

BATES AND MOSELY

_Look at her inquiringly._

ANNA  
I can't say precisely why, but I  
have a feeling it will be fine  
tonight.  
I've got to get on. Do you need  
anything else?

BATES  
If you see Thomas. He'll need to  
dress Mr. Blake.

_Bates takes a moment to smile sweetly at Anna as he rises to_  
_go up. She smiles back. Mosely bustles around them, sorting_  
_wet coats and shoes. While this is happening Thomas slinks_  
_past the boot room doorway, unseen._

_Thomas climbs the servant's stairs two at a time, silently._

_Bates and Anna head up the stairs just behind Thomas, not_  
_seeing him._

LADY MARY'S BEDROOM

BAXTER  
It's proving to be quite an  
evening.

MARY  
Yes. Baxter-I saw something in the  
kitchen that quite disturbed me.  
And I believe you saw it, too. Or  
part of it.

BAXTER  
(Sobers)

MARY  
Thomas. Mr. Barrow. I believe he  
started that fire deliberately.  
Did you see it?

BAXTER  
I did not see that, My Lady. I saw  
him hand the grease pot to James  
right after the fire started and go  
quickly into the dining hall.

MARY  
I saw that, too. After he had  
tossed grease onto the cooking  
flames. It was so outrageous a  
thing to do - I have a hard time  
believing my own eyes. But if he  
had the grease pot in his hand-  
would you believe such a thing of  
Barrow?

BAXTER  
I am-used to surprises, My Lady,  
The good and the bad.

MARY  
It is a very serious accusation to  
make. But I know what I saw.

HALLWAY UPSTAIRS.

_Anna is closing hallway closets. She touches the shoulder of_  
_a passing maid and gives her a quick smile._

ANNA  
Those rooms were well done,  
Charlotte. And quickly, too.  
Please give them some extra candles  
before you go down.

_A kitchen maid appears at the top of the stairs._

KITCHEN MAID  
Mrs. Bates! Come quick!

ANNA  
What is it?

KITCHEN MAID  
The store room is locked! We can't  
get food out of the larder to make  
the pudding!

ANNA  
I'm coming.

_Anna flips through the keys, her head down. She stops,_  
_nearly bumping into her husband._

BATES  
What is it?

ANNA  
The store room key.

_Anna goes through the keys again._

ANNA (CONT'D)  
It's gone.

BATES  
Did you lose it?

ANNA  
I don't know. But there's a spare  
set in the office. Are our guests  
dried off?

BATES  
Yes. I'll see you down there.

LIBRARY. EVENING BEFORE DINNER.

_Mary enters, seeing only Robert._

ROBERT  
Since we have some time before  
dinner I have something I want to  
say.

MARY  
Yes?

(This is difficult for Robert.)

ROBERT  
I want to say that - I know what  
you want to do, and I will-try get  
behind it every way I can.

MARY  
Papa-

ROBERT  
This is not easy, so let me get  
through it. You have always been  
the bravest of us.

MARY  
I don't know about that. Sybil-

ROBERT  
Sybil was the baby. The baby of  
the family is always more protected  
and more free. But the eldest is  
always out front and bears the most  
responsibility. And you have  
always borne it as you were born to  
it. You have an iron will. I-  
didn't trust that will. And I was  
wrong.

MARY  
Papa, when you made that loan to  
Mr. Drewe you acted against what I  
would have advised. But you were  
right to do it. It was the best  
thing you could have done for all our efforts.  
I'm afraid both of us are needed now  
and we won't always have the luxury  
of agreeing. We must lock horns  
occasionally to make this work. I  
think there is no other way.

CORA ENTERS.

ROBERT  
Is everyone cleaned up?

CORA  
Very nearly.

ROBERT  
What a night. I should have  
expected some hitches, I suppose.

CORA  
It's not any of the servants'  
fault. And by the way, your mother  
arrived drunk.

ROBERT  
What?

CORA  
And we've had a fire.

ROBERT  
WHAT?

CORA  
(Sighs) Everything is fine now.  
Let's go through.

HUGHES' OFFICE

_Anna is rifling through the office._

BATES  
The spare set?

ANNA  
It's missing.

BATES  
Are you sure?

ANNA  
There's only one place she keeps  
them.

_She stops and stares at him._

ANNA (CONT'D)  
I've got to get the store room  
open. Now.

BATES  
Come with me.

OUTSIDE THE STORE ROOM DOOR.

BATES  
I need your hair pins.

_Anna begins to take them out._

BATES (CONT'D)  
I'm faster.

_She gives him a look but turns around. He slides the pins_  
_out of her hair with one motion and watches just for a second_  
_as her hair falls._

_He pries the lock with the pins. After a few jigs the latch_  
_clicks and the door sings open._

_Anna gives him a grateful look. Bates is looking at his_  
_wife._

ANNA  
What?

BATES  
I never see you with your hair  
down, except-

ANNA  
But where are the keys?

_Then he has a thought._

(BEAT)

BATES  
I think I know.

_Bates and Anna look at each other, sharing the realization._

ANNA  
I'll find Miss Baxter.

_They go in opposite directions, then come back to each other._  
_Bates hands her the hair pins. They are off again._

UPSTAIRS HALLWAY. BAXTER AND ANNA.

_Anna, still pinning her hair back up, begins to speak to_  
_Baxter, who interrupts her._

ANNA  
Miss Baxter, a word, please-

BAXTER  
Did you see what happened in the  
kitchen?

ANNA  
I heard the noise when the fire  
started and ran in then. Is that  
what you mean?

BAXTER  
Lady Mary says she saw Thomas start  
the fire. I saw him hand the grease  
pot to James right after it started  
and go into the dining hall. Lady  
Mary is calling a meeting of  
everyone who was there after  
dinner. I didn't see him do it but-  
(Pauses) He ran away from the fire.

_Anna stares at Baxter, then nods to herself._

ANNA  
And then the keys went missing.

BAXTER  
The household keys?

ANNA  
Miss Baxter, please search your  
room immediately. Look everywhere.  
The storeroom key is missing, and  
also the spare set of household  
keys.

BAXTER  
Search my own-?

_Their eyes meet, and Baxter understands. Baxter moves_  
_quickly down the hallway toward her room._

DOWNSTAIRS HALLWAY, DINNER TIME.

CARSON

_Is looking for Thomas, spots him._

Where the devil have you been?

THOMAS  
Keeping a lid on things while  
you've been - distracted. Mr.  
Blake is dressed for dinner. And  
I'm ready to serve, as you can see.

CARSON  
Mr. Mosely dressed Mr. Napier and  
Ah! There you are, Mr. Mosely-  
also managed to get out of serving  
livery, into valet's dress, then  
back into livery for serving  
tonight. So you must share the  
credit for "keeping the lid on  
things."

MOSELY

_Allows himself a small smile and goes into the kitchen._

DINNER TABLE. UPSTAIRS.

NAPIER  
Sunday dinner on Saturday night.  
Unusual, but it hit the spot after  
the night we've had.

BLAKE  
Yes. On a cold, wet night that  
roast was most appreciated.  
Tell Mrs. Patmore she's exceeded  
herself.

MARY  
Well, as a matter of fact it was  
not Mrs. Patmore at the helm  
tonight. It was our assistant  
cook, Daisy.

BLAKE  
You know the assistant cook's name?

MARY  
You remembered Mrs. Patmore.

BLAKE  
I have a head for names.

NAPIER  
In our own defense, we were  
kidnapped after meeting with  
disaster. We did not plan to show  
up at your door like stray sheep in  
the storm.

MARY  
Sheep? I wouldn't say sheep.  
Perhaps some wilier animal.

BLAKE  
It's true. Yes, we got stuck, and  
we were kidnapped by Tom. But  
you're right, Mary. If you think  
I'm above opportunism when it comes  
to certain potential advantages,  
you'd be overestimating my  
character.

NAPIER  
We'd hate for you to do that.

_Napier adjusts his waistcoat slightly. _

_Mary looks at the waistcoat and catching_  
_Napier's eye, smiles. She is calm, and not_  
_saddened._

BLAKE  
But you wouldn't, would you, Mary? You  
know us all well enough to judge.

VIOLET  
Was this supposed to be dinner? I  
thought we might be attending a  
jousting. I'm dressed entirely  
wrong for both.

ROBERT  
Yes, gentlemen, please-

CLARA  
But this is the duck's quack!  
It's like the knights of old! I  
could watch it all night.

ROSE  
Clara is used to more informal  
discourse, I would imagine, at  
Oxford.

CLARA  
Formal discourse, actually.

EDITH  
What are you studying at Oxford?

CLARA  
Logic and rhetoric.

_A stunned silence settles over the table. Violet breaks it._

VIOLET  
What's so difficult to believe?

(Gives Sarah a glance.)

Everything about Miss Findlay seems  
very rhetorical.

ISOBEL  
My son studied rhetoric as part of  
his education in law. I believe he  
enjoyed it.

CLARA  
Law, yes, to a purpose. But it's  
not the pure study of argument.  
Law merely exploits any and all  
fallacies to exact a goal. The  
study of logic is quite pure.

TOM  
Pure?

CLARA  
Yes. Aristotle believed that all  
arguments should be won or lost on  
logos, on reason alone. The world  
would be a better place if they  
were. Roz, you remember I'm a  
smoke-eater, right? Can we blouse  
after dinner? I'm dying for a fag.

UPSTAIRS HALL.

BATES  
An interesting night. How are you  
doing?

ANNA  
Lady Mary says it was Thomas who  
started the fire. She says she saw  
him do it. She's called a meeting  
of the staff after dinner to  
witness what they saw.

BATES  
How is Daisy's burn?

ANNA  
Lady Mary did some quick thinking.

BATES  
So Daisy had to make dinner for  
eleven when she was expecting four,  
her first night running the kitchen-  
and she's got a burn as well?

ANNA  
From the fire Thomas set.

_They see Baxter coming down the hall toward them. She pauses,_  
_shyly._

ANNA (CONT'D)  
You have them?

BAXTER  
Yes. I just-I didn't want you to  
think-

_Anna and Bates both laugh, a little bitterly._

BATES  
Miss Baxter, we know you're  
innocent. All the same, let's keep  
this part of the story to  
ourselves. If he's been  
manipulating you he won't come out  
with that now that his plan has failed.

BAXTER

_Passes the single key and ring of spare keys to Anna._

Thank you. Truly.

BATES  
We know him. We know how he works.

ANNA  
(Looks at her husband) I think  
you're right. (To Baxter) We'll  
keep your story out of it.

BAXTER  
I'm very grateful.

BATES  
Not at all.

ANNA  
Don't worry any more about it.

KITCHEN.

THOMAS  
It's rather strange isn't it? The  
Sunday roast on Saturday night?  
Seems a bit desperate. Who knows  
what Mrs. Patmore will have to say  
about that.

MOSELY  
They're loving it upstairs, Daisy,  
I can tell you that. A roast on a  
stormy night with a nice gravy.  
There are no complaints at the  
table.

_Daisy sets the pudding on the tray, garnished._

THOMAS  
And what is this?

DAISY  
Tell them it's a spring trifle.

THOMAS  
A trifle is a Christmas pudding,  
Daisy. How can it be a spring  
trifle?

JIMMY  
Why don't you leave her alone?

THOMAS  
Why are you her champion all of a  
sudden?

JIMMY  
Friendships can take sudden turns,  
can't they?

_Pushes Thomas out of the way._

JIMMY (CONT'D)  
A spring trifle then, is it Daisy?  
I'll let them know.

_Jimmy takes the tray, passing Bates in the hallway; Bates_  
_stops just past the kitchen doorway in time to hear Thomas._

THOMAS  
You know me, Daisy, I'm just trying  
to be helpful. Wouldn't do to  
botch your first night. Food off  
schedule, strange puddings and all.

DAISY  
(Sarcastically) Thanks ever so.

THOMAS  
Always here to save the day.

_Thomas sails out of the kitchen; as he rounds the corner_  
_Bates trips him neatly with his cane. Thomas goes sprawling_  
_on his face._

BATES  
(Very softly to Thomas on the  
floor.)

You should watch your step.

_Bates slips into the dining hall._

_Carson, hearing the noise, emerges from his office and sees_  
_Thomas on the floor._

(Beat)

CARSON  
Well, get up, Mr. Barrow! We've no  
time for dramatics, or whatever  
you were up to!

CROWDED STREET CORNER IN LONDON OUTSIDE A GRAND THEATER.  
EVENING.

_Hughes and Patmore move away from a dispersing crowd, all_  
_dressed for the evening._

HUGHES  
I believe the costumes were the  
best part of that show.

PATMORE  
Valentino is always the best part.

HUGHES  
He's getting a bit-feminine, isn't  
he?

PATMORE  
That's his wife doing that, they  
say.

HUGHES  
Why on earth?

PATMORE  
Jealousy. Can you blame her?

_Mrs. Patmore stumbles and nearly falls into the street. She_  
_is pulled onto the sidewalk by a large gentleman._

PATMORE (CONT'D)  
OH! Thank you!

GENTLEMAN  
(In heavy Scottish brogue)  
Got to look sharp, ginger cake.  
These streets can be killers.

_He winks at Patmore. Hughes and Patmore are stunned._

PATMORE  
Ginger cake! I don't know if I've  
been insulted or not.

HUGHES  
Your life was saved, at least.

PATMORE  
I can't fault that. But I think  
the wink did me just as much good!

HUGHES  
I'm sure many people aren't as  
lucky. I'm sure-it's a common  
occurrence.

_Hughes watches the crowds on the streets, pensive._

DINNER TABLE UPSTAIRS

EDITH  
The - spring trifle - was it? Was  
delicious. I've never had anything  
quite like it.

CORA  
With all that's happened  
tonight I've asked Carson to fetch  
Daisy up here. I hope you all don't  
mind.

CARSON  
May I present assistant cook Daisy,  
who-

_Blake interrupts by applauding, loudly. Isobel joins, then_  
_Edith and Mary. Soon everyone is giving Daisy a polite_  
_round._

Daisy curtsies, then looks at Mary.

DAISY  
Thank you, My Lady.

MARY  
And your injury?

DAISY  
It hardly hurts at all now, My  
Lady.

MARY  
Keep cold tea poultices on it until  
we can get the doctor to look at it  
tomorrow.

DAISY  
Yes, My Lady.

CORA  
That pudding was lovely, Daisy,  
light as a cloud after the roast.

_Daisy curtseys again and nearly runs out of the room._

BLAKE  
You rescued the cook?

MARY  
No, She had a burn. Second degree  
at least.

BLAKE  
You bandaged a burn. In the  
kitchen?

MARY  
The war did teach me a few basic  
things. I never learned as much as  
Sybil, of course.

BLAKE  
It seems no matter the situation,  
you are indispensable.

_Mary is pleased, and tries to hide it._

CAR INTERIOR, RAINY NIGHT. THE JOURNEY HOME.

ISOBEL  
That Mr. Blake seems to be leading  
the race.

VIOLET  
Yes. (Pause) Did you love your  
husband?

ISOBEL  
Yes, I did. And you?

VIOLET  
Love can be complicated.

ISOBEL  
Complicated? Not for a lady,  
surely.

VIOLET  
Not in the open.

_Isobel stares at Violet. _

VIOLET (CONT'D)  
Storms always remind me-this time  
of year-do you ever feel it again,  
just for a moment, what it was to  
be in love?

ISOBEL  
Yes.

VIOLET  
Why put him off, then?

ISOBEL  
Who?

VIOLET  
You know who.

ISOBEL  
I'm not-

VIOLET  
Why stay a prisoner of grief?

ISOBEL  
I'm not-

VIOLET  
You are. You're almost acting like  
one of my people, pretending you  
don't want more. It's a waste.

_Close up Isobel looking out into the rainy night._

_Isobel feels a movement and looks down to see Violet asleep_  
_on her shoulder._

CARSON'S OFFICE.

Lady Mary and servants. Carson, Thomas, Jimmy, Baxter, Anna,  
kitchen maids.

MARY  
Thank you, all. We will dispense  
with this as quickly as possible.  
Anna, as head housekeeper tonight  
has agreed to be a witness here and  
observe. Mr. Carson will handle  
this as he always does.

CARSON  
Thomas, you had something to do  
with the grease fire tonight. What  
have you to say?

THOMAS  
A kitchen can be a hazardous place  
to work.

MARY  
You must carefully consider now  
what you say, Barrow. I looked into  
your eyes as you threw the grease  
on the flames and I saw you run  
after you had handed the grease to  
Jimmy.

THOMAS  
I may have slipped moving  
the grease pot.

CARSON  
James?

JIMMY  
That's true. The fire had just  
started. And suddenly you handed  
the grease to me. (pause) Hoping I'd get  
blamed.

CARSON  
And Miss Baxter?

BAXTER  
I admit, My Lady, that I took the  
grease from Jimmy's hand and put  
it on the counter. I didn't see Mr.  
Barrow throw grease on the stove.  
But I did see him hand it to Jimmy  
and run into the dining hall just  
as the fire had started. I-thought  
something seemed wrong.

MARY  
I saw you do it, Barrow. I can't  
think why you would do such a thing  
but on a night when we are on  
junior staff who are doing their  
best to prove themselves it seems a  
cold, calculating thing to do. A  
heinous thing to do in any case,  
resulting in injury of one of your  
coworkers, and it could have been more.

(Silence)

MARY (CONT'D)  
For bald-faced lying I would  
automatically dismiss a servant,  
and for causing injury and danger  
to the entire staff and the house I  
would send you out immediately.  
But you've been a long time in our  
employ. And I must speak to Papa  
for his decision on this. We won't  
throw you into the night. But for  
now you are on suspension. I don't  
want you doing any work in this  
house.

CARSON  
You are suspended, Thomas. You are  
dismissed from this meeting.

_Thomas does his best to exit with dignity. The rest of the_  
_staff seem to let out a collective sigh. They are all quite_  
_tired by now._

MARY  
It's been a long night. I do want  
to say that Anna and Daisy were  
exemplary this evening, under  
trying circumstances, and I could  
not be more impressed with them  
both. As for Mr. Barrow, if it were  
only me I would dismiss him  
immediately. But he will be under  
strict watch until a decision is  
made. Good night, everyone.

EARLY MORNING. MRS. WRIGHT'S HOUSE.

_Anna knocks. There is no answer. She enters._

ANNA  
Mrs. Wright? It's Anna. Good  
morning.

_She enters the bedroom softly._

ANNA (CONT'D)  
I've brought-

_Anna sees no movement in the bed and puts her hand on Mrs._  
_Wright's shoulder._

ANNA (CONT'D)  
Mrs. Wright?

_Close up on Anna looking down at the bed, realizing her_  
_friend is dead._

THE END

CREDITS


End file.
